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HOME ¬ ABOUT ¬ NEWS ¬ PRACTICE ¬ FEEDBACK ¬ CONTACT ¬ | Wednesday 08 September 2010 |
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Rosemary is a qualified practical choreologist. She acquired her skills through years of experience as a professional dancer and teacher of dance and through study for a Masters degree at the Laban Centre, London, in 1986. After lecturing at the Laban Centre for several years, where she developed her unique approach to choreology, Rosemary responded to invitations from other London-based institutions and dance centres abroad.  Since 1992 her work has made a distinct contribution to dance education. Her work involves lecturing, teaching, and contributing to dance study programmes, choreology workshops for dance professionals, students of dance and for teachers of dance. While her initial and particular research has been directed towards classical dance, her work is not style-bound. Currently she is in demand in both classical and contemporary dance spheres and is recognised in the field as being an outstanding educator. As a leader in her particular field, Rosemary is highly regarded in Europe and has gained a considerable reputation internationally. In 2006 Rosemary returned to Laban as the Undergraduate Studies Year One Programme Co-ordinator and is Senior lecturer in Choreological Studies. Rosemary Brandt is a classically trained dancer and also works in contemporary dance. She completed an MA in Dance Studies at the Laban Centre after which she was appointed lecturer in choreological studies. During her lectureship, she developed her unique approach to dance teaching. She is currently lecturer in Choreology at London Contemporary Dance School and at Birkbeck College, University of London and teachers on CandoCo's first foundation course. In addition, she has taught at:
She gives workshops for dance companies in England and France. She has been guest teacher for Anne-Teresa de Keersmaeker's company, Rosas, and Phoenix Dance Company. She also gives workshops for students in academic study and dance research in France, Belgium, Germany and Holland. ExperienceI acquired my skills through years of experience as a professional dancer and teacher of dance and through study for a Masters degree at the Laban, London, in 1986. After lecturing at Laban for several years, where I developed my unique approach to choreology, I responded to invitations from other London-based institutions and dance centres abroad. Since 1992 my work has made a distinct contribution to dance education and involves lecturing, teaching, and contributing to dance study programmes, choreology workshops for dance professionals, students of dance and for teachers of dance. While my initial and particular research was directed towards classical dance, my work is not style-bound. Currently I am in demand in both classical and contemporary dance spheres. As a leader in my particular field, I am highly regarded in Europe and recognised in the field as being an outstanding educator. The education of the dance artist has been central to my research and my work in Choreological Studies. The understanding and knowledge which derive from my choreological approach to dance speaks to performers, choreographers and teachers. It allows for a coherent development of what is essential in the work of students and artists of dance and the promotion of dance scholarship as a studio-based practice. Analysis shows that the combination of science with aesthetics is necessary for the explication of the art of dance, and if significant art and artists are to emerge from its practice, it needs to be developed. My work in different institutions, in different countries and cultures has broadened and challenged my experience and my views of dance education. I have participated in the debates and discussions concerning the training and education of the dancer and worked alongside colleagues on programmes where the decisions, solutions, and approaches have varied in emphasis. I have had to be open to views that are apposed to my own and to consider and work with them in practice. As a result, I am acutely aware of the changing nature of the needs and demands of the dance profession as it evolves. I am conscious of the need for constant debate and the delicate balance between traditional and accepted practice and innovation, and the balance between providing the necessary skills and the education for the dance artist today in the context of higher education. I am also conscious of the fact that the teaching methods, views and experiences of practitioners and educators are as diverse as the individual artistic voices of the students we wish to nurture. I have developed the ability to listen and be open to new ideas and recognise that challenge is healthy and serves to confirm and consolidate ones own views and approaches. For the last 10 years I have lead and taught the Choreology component on the undergraduate and postgraduate programmes at London Contemporary Dance School and on the Foundation and Diploma courses at Birkbeck College, London University. These institutions attract very different students. I have constantly had to question and adapt my teaching to the needs and experience of this diverse body of students. This has not only kept my work in as an educator in dance alive but has confirmed the necessity and value of a student-centred approach. In 2004 I was invited by the Associate Director of CandoCo Dance Company to be part of the development group to contribute to the writing of a foundation course for disabled students wishing to enter vocational dance training. This involvement gave me further opportunities to reflect and deeply consider a student-centred approach to dance teaching and learning. It further confirmed my recognition that our moving, dancing body is the place where the individual lives and the developing artist grows; where the origin of the impulse to move or dance arises, and where knowledge derived from the dancing experience resides. As a teacher of dance in mainstream education I am acutely aware that access to professional training is limited for disabled students and that provision needs to be made now in dance institutions to prepare for integrated training and education in mainstream dance. This remains one of my research interests. |
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Intro to the Rosemary Brandt Practice |
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Research Interests |
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Movement and Music |
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Disability and Integrated Training |
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Workshop for Musicians and Dance Teachers |
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A Choreographic Dialogue |
